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Le Pianiste: Parisian Music Journalism and the Politics of the Piano, 1833–35

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Le Pianiste: Parisian Music Journalism and the Politics of the Piano, 1833–35 City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Le Pianiste: Parisian Music Journalism and the Politics of the Piano, 1833–35 Shaena B. Weitz Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/760 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By SHAENA B. WEITZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York Graduate Center 2016 ii © 2016 SHAENA B. WEITZ All Rights Reserved iii LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By SHAENA B. WEITZ This manuscript has been read and accepted for the Graduate Faculty in Musicology to satisfy the dissertation requirement for the degree of Doctor of Philosophy Janette Tilley ___________________ ____________________________________ Date Chair of Examining Committee Norman Carey ___________________ ____________________________________ Date Executive Officer Anne Stone Richard Kramer Dana Gooley Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract LE PIANISTE: PARISIAN MUSIC JOURNALISM AND THE POLITICS OF THE PIANO, 1833–35 By Shaena B. Weitz Advisor: Anne Stone This dissertation examines the French music journal entitled Le Pianiste, published in Paris from 1833 to 1835. Through an analysis of the journal’s contents, it reconsiders the nature of music journalism and musical life in Paris at the time it was in print, focusing in particular on canon formation and the power of the press. Le Pianiste’s remarkably detailed descriptions and analysis of the French music world challenge long-held perceptions of the era about taste and reception history, yet it remains an unstudied document. While past work on the music press has focused on criticism and reception, this project probes the very nature of music journalism itself as a vehicle for power, influence, and money and aims to elucidate the complex relationship between composer, publisher, and critic, who in the case of Le Pianiste’s writers, were one in the same. v ACKNOWLEDGMENTS So much of the economy of research is based on help, and acknowledging the profound support that one has received inevitably leads to rumination on one’s own shortcomings. It is, after all, the people that offer advice and encouragement in times of distress that generally mean the most. First, I would like to thank two departed mentors: Adrienne Fried Bloch and Ora Frishberg Saloman. Adrienne tried to make an Americanist out of me, but I learned a lot from her about research and musicology in my early days as a doctoral student. Ora Saloman, my first advisor, showed excitement in my research when I was unsure, and her intensity for life was impressive. Thanks are due to Anne Stone, for “adopting” me when Ora died, and for guiding me through the challenging middle and late stages of my dissertation research. We accomplished a lot together. Thank you to my committee: Janette Tilley, who served as an enthusiastic chair and whose correspondence was always swift; Dana Gooley, whose enthusiasm and support flatters me, and whose feedback I cherish. Special thanks are due to Richard Kramer, my first reader, whose keen eye and delicate thoughts always impress me and inspire me to do more. Thanks to Allan Atlas, whose legendary no-nonsense advice has proved invaluable to me. Thanks to those senior scholars who have offered advice on my work: Dana Gooley, Katharine Ellis, William Weber, Kenneth Hamilton, Rohan Stewart-McDonald, John Graziano, and many others. Thanks are also due to CUNY for supporting my research with a significant dissertation grant and research scholarships. Thank you to the libraries that helped in my research, especially the Bibliothèque nationale de France and the Archives nationales, but also to the New York Public Library, the Library of Congress, and the British Library. And of course, I thank my parents Brian and Katherine, my brother Evan, and my husband Maayan, for being there for me in ways that only family can. vi TABLE OF CONTENTS Introduction ...................................................................................................................................1 Le Pianiste’s Authors and Administration ......................................................................................6 Le Pianiste’s Goals ........................................................................................................................12 Circulation and Subscribers ...........................................................................................................16 Le Pianiste’s Closure...................................................................................................................... 18 Chapter 1: The Business of the Press .........................................................................................28 The Press and the Government ......................................................................................................32 Turning a Profit (Or not) ................................................................................................................39 Consequences for Bad Behavior ....................................................................................................43 Chapter 2: Perruques and Fathers: Le Pianiste’s Early History of the Piano ........................63 Background and Context ...............................................................................................................64 Adam and the Nationalistic Argument ..........................................................................................67 Le Pianiste and the Past .................................................................................................................71 The “Fathers of Piano” Muzio Clementi......................................................................................................... 78 Johann-Baptiste Cramer ............................................................................................81 Daniel Steibelt .......................................................................................................... 83 Jan Ladislav Dussek.................................................................................................. 87 The “New German” Tradition — Hummel and Beethoven ...........................................................95 Conclusion ...................................................................................................................................106 vii Chapter 3: Music “for the Eyes”: On Virtuosity and the 1820s ............................................109 Ignaz Moscheles’s Parisian Debut ...............................................................................................112 Carl Czerny, Variety, and Speed ...................................................................................................117 Johann-Peter Pixis, Henri Bertini, and Resistance....................................................................... 123 Ferdinand Hérold .........................................................................................................................131 Frédéric Kalkbrenner ...................................................................................................................134 Conclusion ...................................................................................................................................142 Chapter 4: “Talent is so young these days”: New Music and the Romantic Generation ....145 Frédéric Chopin............................................................................................................................ 147 Franz Liszt ................................................................................................................................... 161 Ferdinand Hiller ...........................................................................................................................171 Henri Herz ................................................................................................................................... 178 First encounters with the music of Schubert, Mendelssohn, and Schumann ..............................186 Conclusion ...................................................................................................................................194 Appendices Appendix 1: Concert Reviews in Le Pianiste ..............................................................................197 Appendix 2: Chaulieu work list by opus ..................................................................................... 209 Bibliography ...............................................................................................................................218 viii List of Tables Introduction: Table I-1: Borrowed contributions of identified origin.................................................................. 10 Table I-2: Borrowed contributions of unknown origin ..................................................................10 Table I-3: Letters to the editor ........................................................................................................11
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